藝術家的聲明:

12好幾年,我住在這個房間裡,我已經被問,我的良心和一個嘮叨的母親對熵通過認真清理,維護和組織在一個慣常的方式無果而終的實物搏鬥。在許多方面,我們擁有的'東西'定義我們,有時候,我們擁有更多的東西,我們的自由少。

2008年6月3日,我決定結束我的個人消費後炸毀了我的房間與追求的局限性。我表示我的滋擾,希望通過物理的,但華麗的混亂的結果將是人生的一課,通過解纏自由與物質世界,並通過增強身體自我參與。

這一使命也意味著重新認識,並在同一時間,讓我過去嘗試有點太難以控制。房間本身和它包含的對象,成為了我的心和我的記憶中的隱喻。一個健康和成熟的大腦中整理出老徒勞的信息除草一樣,我也必須做我的身份和我的環境相同。我發現早已被人遺忘的東西,可能永遠也不會復出,否則。我發現其中的珍品,是從三年級,幼兒園一年書,使用避孕套,期刊,老照片,高中成績單,各種兒童玩具,以及其他徒勞的證據精疲力竭,無力的年輕人的不滿過去的情書。

這種殷切湮沒的行為也作為一種語言來表達一個懸而未決的我的父親我的整個童年的一貫存在的缺乏所帶來的家庭危機,潛憤怒。不是我相信恐嚇死氣沉沉的對象將是困境的手段,但至少它給我留下一個爛攤子,我可以解決的。

留戀,怨恨,憂鬱,興奮的混合情緒湧現出了我的中樞神經系統,因為它要求我快速抽動肌肉,以完成二分的鍛煉,這是雙方自毀(嘔吐),自我安慰(自慰)在自然界。經驗也讓我表達我的肌肉發達,從一個扭曲和女性的角度肯定會被禁止在任何公共及商業健身房。我的媽媽的內褲的鬆緊度範圍內,我的身體和膽量延長到了極限,無論如何,盡可能多的障礙,因為我可以在給定的空間和時間的能源生產。

如果不出意外,擔任這一令人不安的無政府狀態的結果作為一種敲響了警鐘,因為它提出有趣的問題,關於我的身份的性質和我的關係,我的世界。這是一個殘酷的,但誠實的努力,我從來沒有感到如此解放。

在短期,有序室代表standardlized的的rubrick和傳統藝術和社會的世界。破壞是一種創造性的一個......“創造性破壞”的諷刺和自相矛盾的行為,其中的野心是破壞現有的法律。修改和推翻它通過破壞來創造新的東西。這使得意識和剝離從世界熟悉的電影,因為我們知道它。

Artist's Statement:

For 12 good years that I've lived in this room, and I have been asked by the better part of my conscience and a nagging mother to wrestle against entropy by meticulously cleaning, maintaining, and organizing fruitless material objects in a habitual manner. In many ways, the 'stuff' we own defines us, and sometimes, the more things we own, the less freedom we have.

On June 3rd, 2008, I decided to put an end to the limitations set upon by my personal consumerism with a quest to blow up my room. I expressed my nuisance through a physical, yet flamboyant mayhem, hoping the result would be a life lesson about freedom through disentanglement with the material world, and empowerment through the engagement of the physical self.

This mission was also a mean to rediscover, and at the same time, letting go of a past that I try a little too hard to control. The room itself and the objects it contained became metaphors for my mind and my memories. Like a healthy and maturing brain that reorganizes itself by weeding out old and futile information, I too, must do the same for my identity and my environment. I found things that are long forgotten, and would probably never have resurfaced otherwise. Among the treasures I discovered were love letters from the 3rd grade, kindergarten year book, used condoms, journals, old photographs, high school report cards, various childhood toys, and other futile evidence of the discontented past of an exhausted and powerless young man.

This act of ardent annihilation also serves as a language to articulate an unspoken rage of an unresolved family crisis, brought upon by the lack of my father's consistent presence throughout my childhood. Not that I believe terrorizing lifeless objects would be the means to the predicament, but at least it leaves me a mess I can fix.

Mixed emotions of nostalgia, resentment, melancholy, and exhilaration emerged out of my central nervous system, as it demanded much of my fast-twitch muscles to complete a dichotomic workout that is both self-destructing (vomiting) and self-comforting (masturbation) in nature. The experience also allowed me to express my muscularity from a twisted and feminine angle that would most definitely be prohibited in any public and commercial gymnasium. Bounded by the tightness of my mother's underwear, I extended my body and guts to the limit anyway, and produced as much disorder and energy as I could in the given space and time.

If nothing else, the result of this disturbing anarchic served as a kind of wake-up call, as it raised interesting questions about the nature of my identity and my relationship to the world I made. It was a brutal, yet honest effort, and I have never felt so liberated.

In short, the orderly room represents the standardlized rubrick and tradition of art and of the social world. The destruction is a creative one...an ironic and paradoxical act of "creative destruction", where the ambition is to destroy an already existing law. Modifying and overturning it through destruction to create something new. This enables consciousness, and strips the film of familiarity from the world as we know it.

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